Quirky, off-the-cuff, weird, oddball posts by a twenty-six-year old college graduate/music geek with a small talent for composition, and a interest in many, many random things.

Monday, January 24, 2011

Twelve-Tone Matrix

Just started a Twelve-Tone piece for Flute and Harp last week.

What I’m working from:

I0

I5

I8

I3

I2

I7

I11

I9

I10

I1

I4

I6

P0

D

G

A#

F

E

A

C#

B

C

D#

F#

G#

R6

P7

A

D

F

C

B

E

G#

F#

G

A#

C#

D#

R1

P4

F#

B

D

A

G#

C#

F

D#

E

G

A#

C

R10

P9

B

E

G

D

C#

F#

A#

G#

A

C

D#

F

R3

P10

C

F

G#

D#

D

G

B

A

A#

C#

E

F#

R4

P5

G

C

D#

A#

A

D

F#

E

F

G#

B

C#

R11

P1

D#

G#

B

F#

F

A#

D

C

C#

E

G

A

R7

P3

F

A#

C#

G#

G

C

E

D

D#

F#

A

B

R9

P2

E

A

C

G

F#

B

D#

C#

D

F

G#

A#

R8

P11

C#

F#

A

E

D#

G#

C

A#

B

D

F

G

R5

P8

A#

D#

F#

C#

C

F

A

G

G#

B

D

E

R2

P6

G#

C#

E

B

A#

D#

G

F

F#

A

C

D

R0

RI6

RI11

RI2

RI9

RI8

RI1

RI5

RI3

RI4

RI7

RI10

RI0

For those that don’t know:

P = Prime

I = Inversion

R = Retrograde

RI = Retrograde-Inversion

Twelve-tone matrixes are nice, because they take one challenging aspect of composing out, which is picking the notes, but getting all the variations of the prime row to work together without sounding too different/unrelated is quite a challenge.